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Ralph Lauren comes calling at an Oregon sheep ranch


The Design Magazine for the Pacific Northwest



color issue Bright interiors bold patterns future trends luxe living in 500 square feet


Studio Visit Behind the scenes with one of Seattle’s most exciting design duos

Beyond the Brush Vancouver painter Zoë Pawlak explores the art of rug making


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cont 20



february – march.14

8. hello

Not neutral.


15. news

Glassybaby spreads its light to San Francisco; plus, the must-attend events, exhibitions, and activities of the season.

20. art

Sculptor Adam Kuby creates a new landmark for Aberdeen, Washington.

22. process

Vancouver, British Columbia, painter Zoë Pawlak and carpet specialists Burritt Bros. spawn an art-inspired rug collection.

26. ask

Renowned costume and set designer Catherine Martin brings an Art Deco sensibility to a new line of textiles and wallpaper.

28. sourced: wallpaper

Playful patterns dress up dull walls.

STYLE 31. fashion


Interior designer Marianne Simon updates an ‘80s-era home in Bellevue, Washington, with a muted palette and strategic furnishings.

43. made here

Gold-metal material. Ralph Lauren and the 2014 U.S. Winter Olympics catapult a rural Oregon ranch into the style spotlight.

An exclusive sneak peek at designer Michelle Lesniak’s Fall/Winter 2014 collection.

45. essay

36. interiors

48. shopping

Interior designer Jessica Helgerson overhauls a kitchen in Portland’s historic Alhambra Building.

39. sourced: tile

Lay it on me. Tile to inspire your next design project.


40. interiors

A closer look at the Pacific Northwest’s relationship to color. Quick, pick one: Colors vs. neutrals. Whatever team you root for, we’ve got you covered in this luxe product showdown.

tents 50



back of book

50. full spectrum

72. studio visit

A Portland penthouse gets a big dose of pattern play from Matthew Boyes and Frederic Koeleman of Cielo Home.

58. small wonder

Peter Wilds makes every inch count in a 500-square-foot condo in a downtown Vancouver, British Columbia, high-rise.

64. domestic bliss

Take seven designers, three apartments, and one rooftop deck, mix with style and creativity, and what do you get? That would be Domestic, a showcase of American- made design.

Codor Design opens the door to their Seattle studio, revealing an intriguing creative process.

78. deconstructed

Inspired by traditional Japanese bathhouses, architect Jeff Stern remodels a tiny Portland bathroom.

80. hospitality

Heirloom Restaurant mixes heritage with a modern aesthetic.

86. resources

Your guide to the designers, shops, furnishings, craftsmen, and suppliers featured in this issue.


On the Cover

Vancouver artist Zoë Pawlak debuts Over Oceans, her new line of rugs inspired by a single vivid painting. See page


Written by STACY KENDALL Photographed by Jamie Mann

90. my northwest

For the founder of Devine Color, bright décor breeds boldness at an exotic Cuban restaurant. GRAY ISSUE No. FOURTEEN



Walking through Seattle’s Wallingford neighborhood recently, I came upon a surprising sight: a

not neutral

tight row of rainbow-hued townhouses, an oasis of color amid sedate surroundings. They struck me as delightful, and certainly atypical for Seattle, where exteriors usually blend into the natural environment rather than shout for attention. I’d seen a similarly playful effect in downtown Reykjavik, Iceland, where metal-clad houses are painted exuberant colors, from hot pink to orange to mint green, as if in defiance of the city’s steely skies. In the Pacific Northwest, the palette of our built environment tends to be more muted. While putting together this issue, dedicated to the theme of color, we were struck again and again by local designers’ tendencies toward neutral tones. Has that chromatic preference evolved out of deference—or perhaps reverence—for the natural beauty that surrounds us every day? Or is it something else? As we delved into our reporting, we gained a renewed appreciation for nuance. Especially instructive was an interview with Gretchen Schauffler, founder of the paint company Devine Color (My Northwest, page 90). Growing up in Puerto Rico, she was surrounded by bold, clashing colors. When she moved to Oregon, her perception shifted. Immersed in what she at first thought was a relentless grayness, her eyes soon adjusted, and she began to see “color in the minutiae,” as she puts it—the purples and greens in a stone, the red veins in a chartreuse leaf. Our region’s most talented designers, architects, and artists possess this gift of looking close, of seeing subtleties, and they translate this into their works so that we, too, can appreciate what might otherwise go unnoticed. We celebrate some of them in this issue: Vancouver, British Columbia, artist Zoë Pawlak, our cover girl, who transformed one vibrant painting into five exquisite rugs (page 22); the designers behind Seattle’s Codor Design, whose Objet Trouvé mirrors literally turn trash into treasure (page 72); and a crew of Portland’s rising-star designers, who during the first annual Domestic event created interiors to spotlight American-made furnishings and accessories (page 64). One of the Northwest’s most influential interior designers, the late Jean Jongeward, set the high-water mark in this regard. As critic-turned-textile artist David Mendoza put it in a 1995 Seattle Times article: “She has taught us to see green or pink when others see only gray or beige. After color school with Jongeward, you see color even in fog.” Indeed, for those who tune in, the world is truly a bright place—and even the grayest day or the beigest room can reveal a world of color.



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Janis Nicolay pg 58, 80

David Papazian pg 50, 64, 78








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upcoming tours: Seattle Portland

Mar. 22, 2014 Mar. 29, 2013 for tickets and information






Seattle’s Glassybaby empire A collaboration between Written by Debra Prinzing Photographed by Aubrie Pick

votive The Glassybaby—a teardrop-shaped more s s—i hue 400 than e mor that comes in and t hear the It’s lder. leho cand a than just business. soul of a $10 million, Seattle-based founder , 2003 in e piec Since selling her first a from by syba Glas n grow Lee Rhodes has d. bran ic icon an to ure vent sed home-ba by Like the three Seattle-area Glassyba -foot uare 0-sq 1,20 new stores, the company’s hts Heig idio Pres o’s cisc shop in San Fran ke, with neighborhood is spare and gallery-li arranged ses glas $44 votives and $55 drinking rows. tyle ré-s omb and in alluring color blocks eye your draw to is des, Rho The intent, says want we And r. colo sell “We uct: prod to the and preferpeople to bring their own desires tte.” pale our ences when they shop est San Francisco is the company’s larg r Late . says des Rho tle, Seat ide outs market sglas a d buil this year, the company will Heights blowing hot shop near the Presidio storefront, Area Bay nd seco a store, and open s goal is to probably close to San Jose. Rhodes’ ning mea el, create a “hub-and-spoke” mod hot own its has ket mar that each new retail es. stor of ter clus a shop serving and “It seems like we can at least go up k,” wor it e down the West Coast and mak The el. mod n nsio expa Rhodes says of this s company hasn’t yet announced plan says that des Rho but o, cisc Fran San nd beyo rever Austin, Texas, is on her radar. Whe homethat ort supp will Glassybaby goes, it y pan com The es. caus le itab town’s char to date. on milli $1.8 than e mor ated don has ent of “I believe you can give away 10 perc ul and essf succ a have your revenue and still . says des Rho ,” ness busi sustainable re. h That’s a glowing prediction for the futu

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| news

Erin Schiedler, courtesy Seattle Architecture Foundation


“We aim to help people understand both sides of the equation—why we need to keep old buildings and at the same time build welldesigned new spaces to help neighborhoods —Stacy Stegal, Executive Director, grow and thrive.” Seattle Architecture Foundation


LECTURES Feb. 11 Pioneer Square March 11 Pike Place Market Ever wonder what your neighborhood was like in the past? Get informed at the Seattle Architecture Foundation’s newest lecture series, “Urban Character: Seattle Neighborhoods Then + Now.” The organization has invited an impressive team of speakers, ranging from preservationists to developers, to discuss and debate the future of these evolving neigh-borhoods. Up next is Pioneer Square, followed by Pike Place Market. 

Feb. 19 Clockwise from top left: British artist Tim Etchells

lights up the Contemporary Art Gallery in Vancouver, British Columbia. The Seattle Architecture Foundation’s latest lecture series covers the city’s significant neighborhoods and sites, including the U W Medicine building in South Lake Union. A new exhibition at Tacoma’s Museum of Glass invites interaction.



Renowned graphic designer Chip Kidd and award-winning graphic novelist Chris Ware come together for Seattle Arts & Lecture’s Literary/Arts series. An unscripted, wildcard conversation between these rock star graphic artists will jump between discussions on their work, interests, and experiences in the world of literary arts. 

Fresh off of his stint as artist-inresidence at Vancouver, British Columbia’s PuSh International Performing Arts Festival, Tim Etchells, a UK-based artist and the director of an avant-garde performance company, is exhibiting an exciting commission at Vancouver’s Contemporary Art Gallery. This new body of visual work, “Who Knows,” takes word play to the next level. Stringing together phrases such as “I Know,” “You Know,” “We Know,” “They Know,” Etchells creates an experience aimed at bringing the all-toofamiliar topics of surveillance and paranoia close to home. 

Feb. 7 – Sept. 21 Tacoma, Washington’s Museum of Glass is offering an unconventional twist on the traditional museum experience. “Look! See? The Colors and Letters of Jen Elek and Jeremy Bert” invites museumgoers to get close to the art—to readjust, examine, and even wear the brightly colored glass sculptures in this light-based, multisensory exhibit. 

Feb. 22–May 25

Seattle’s Frye Art Museum brings together the work of two influential 20th-century artists for the first time ever in “Isamu Noguchi and Qi Baishi: Beijing 1930.” Showcasing 66 works, including drawings, ink paintings, and sculpture, this exhibit explores the little-known relationship between the two artists. 

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| news

below LEFT: An experimental new series at Portland’s Project Cityscope kicks off with a talk about architecture and poetry. below cENTER: Vancouver Fashion Week features up-and-coming designers such as Dandilion Wind Opaine. rIGHT: Lotus and Dragonfly by Qi Baishi, on view at the Frye Art Museum.



Opened Oct. 12 at the Museum of History & Industry, Seattle

“The design intent for the Bezos Center for Innovation exhibit was twofold: to highlight the history of the remarkable innovations that have been achieved in the Pacific Northwest; and to ignite and inspire the innovator in everyone.” —Alan Maskin, lead designer, Olson Kundig Architects 



Attention all International Interior Design Association members! The 2014 Spencer de Mille Traveling Fellowship application is now open. Pitch your most innovative ideas related to improving the built environment by March 31 for a chance to travel abroad to research, test, and explore your design interests. And the Seattle Design Foundation just announced a new grant and mentorship program, open only to Seattle-based women designers. Pitch your idea for a design that focuses on “a particular women’s issue” by April 30th for a chance to win $2,500 and be matched with a local mentor.  

Feb. 24

Nora Wendl, an architect interested in poetics, and Coleman Stevenson, a poet who obsesses over structure, unite in Portland for the inaugural night of Project Cityscope’s free monthly series, “The New Structure.” The series aims to be a platform for exploring new forms and definitions of place-making within the community, the environment, and the urban fabric. In their talk, “Paper Houses,” Wendl and Stevenson will explore the related natures of architecture and poetry. 

FASHION March 18–24 This March, Vancouver, British Columbia, will become a global fashion hotspot during Vancouver Fashion Week’s Fall/Winter 2014 showcase, the fastest-growing fashion week in the world. With runway shows featuring both established and emerging talent from Canada to Slovakia and from Zanzibar to Peru, the event has a knack for showing new talent before they make it big. 

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| art Where to view “Breaker”

The piece is located at the intersection of Simpson Ave. (U.S. Hwy. 101) and Park St. in Aberdeen, Washington, about 50 miles west of Olympia.

“Breaker,” Adam Kuby’s stone formation on a main thoroughfare in Aberdeen, Washington, is arresting to both driver and pedestrian. By day, it’s part sculptural landscape, part architectural ruin. By night, it’s a performance piece with programmable LED lights that wash the artwork with a range of colors and subtle visual effects. Commissioned by the Grays Harbor Community Foundation (GHCF), the installation honors the Weatherwax family, who were Aberdeen timber pioneers and philanthropists. Kuby, a Portland sculptor, was asked to use more than 300 sandstone artifacts salvaged from Aberdeen’s J.M. Weatherwax High School—which was built in 1909 and destroyed by fire in 2002 (and whose most famous student was grunge icon Kurt Cobain, who dropped out two weeks before graduation). The massive pieces, originally quarried from the Cascades, had been stockpiled for a decade when local arts advocates saved them from being

auctioned by the school district, piece-by-piece, on eBay. With the help of 4Culture, a Seattle arts consulting firm, GHCF considered more than 50 proposals. Kuby wowed the selection committee with a scale model of his concept, which he illuminated with his bike helmet light during the presentation. “It just took our breath away,” says Jim Daly, the foundation’s executive director. “I wanted to show that it was going to be as dramatic at night as during the day,” Kuby explains. He had seen light shows in Europe, including at the Acropolis in Greece, and sought a similar effect. “I knew ‘Breaker’ would be a significant landmark in this community, so why not bring color into it in the same way that the Empire State Building is lit at night?” Kuby gave himself the challenge of using all the sandstone pieces in

the work, which measures 10 feet high by 65 feet long. He stacked and arranged the heavy chunks, creating an elegant shape that suggests the ocean’s rise and fall, a nod to the nearby Pacific. Detailed corbels that formerly graced the entrance to the local high school now crest the top of the piece. “I’m really interested in the life of these stones,” Kuby says. “They originated as sand laid down 50 million years ago. A century ago, they were carved to embellish a school. Now, they’re part of artwork. And grain by grain, perhaps in the future they’ll make their way back to the sea again. It’s a timeless material.” According to Tom Quigg, chairman of the GHCF, some people park their cars at night to watch the lights change color; others climb the piece to take pictures. The new landmark links the past with the future, he says. “It has raised awareness that we have a strong culture here, one worth preserving.” h

See “Breaker” by day at breaker


Aberdeen, Washington’s new public art combines salvaged artifacts with a modern-day light show. Written by Debra Prinzing : Photographed by Adam Kuby



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| process Zoë Pawlak’s Over Oceans rug collection with Burritt Bros. includes a hand-knotted replica (inset) of the artist’s original painting.

A new rug collection highlights the talents of a Vancouver, British Columbia-based artist.

t Fine Art Fibers Written by stacy kendall : Portrait by Jamie Mann



ranslating a rectangular painting into a rectangular rug might sound simple, but it’s not easy. After three years of conversations, eight months of conceptualization, and up to 12 weeks on the loom, artist Zoë Pawlak’s first rug collection with Burritt Bros. Carpets and Floors made its debut this past November. The five 8-by-10-foot rugs were inspired by a single lively painting, “Over Oceans,” which Pawlak created in 2012.The abstract piece was chosen for its mutable quality as much as for the artistry itself. “We wanted to pick a painting that could be enjoyed from every angle,” Pawlak says. She and the Burritt Bros. in-house designer, Ainsley Jones, pored over every inch of “Over Oceans” to pinpoint areas to crop, enlarge, and eventually translate into a rug design. It’s much easier to blend color and create texture with oil paint than textile fibers, says Keith Donegani, vice president of Burritt Bros.: “In the knotted-rug process, every knot is tied by hand, and in the case of the Pawlak collection, we had the weavers ply viscose along with the wool to produce a yarn with a high degree of sheen.” For the artist, this new medium shed unexpected light on her art. “I actually got to make five new things; that was the best part about it,” Pawlak says. “You don’t often get the chance to explore that scale in painting.” According to both parties, this isn’t the last you’ll see of their work together. Burritt Bros. would like to introduce new pieces every year. “Zoë is so dynamic and so outgoing and personable,” Donegani says. “I wouldn’t have made pink rugs if they weren’t Zoë’s.” »


23 43


| process

The Making of Over Oceans The Over Oceans collection is handmade in Nepal by a family-owned weaving manufacturer that has worked with Burritt Bros. for the past seven years. The average 9’x12’ rug takes approximately 3,000 hours of labor.

1. After the yarn has been hand-dyed in a heated vat, workers creel the hanks to prepare them for weaving.

3. One of Pawlak’s pieces on the loom. The cartoon above is the weavers’ reference guide.

2. Weavers set the cotton foundation, or the warp fiber, around which they’ll tie their knots.

4. Once off the loom, the rug must be washed to remove any loose fibers that contribute to shedding.

Rug Dictionary: Cartoon: A blueprint that the weaver uses as a visual key to produce the rug design Creel: A frame for holding bobbins or spools in a spinning machine



Hank: A looped bundle of yarn Warp: The threads that run vertically in a woven fabric, crossed at right angles to the weft




| ask LEFT: The prints in Catherine Martin’s new Metropolis collection, a line of wallpaper and fabrics designed for textile company Mokum, recall 1920s glamour. Patterns include Limelight Foil wallpaper and Limelight Velvet (top left); Cabaret wallpaper (center); and Splendour wallpaper in Peacock (bottom left). Art Deco style also inspired Martin’s costume designs for the 2013 film The Great Gatsby (bottom right).

For 25 years, Academy Award–winning set and costume designer Catherine Martin

DRAMA QUEEN Written by Rachel Gallaher

has employed her bold creativity to dress the stars and create larger-than-life sets for movies including Moulin Rouge, Australia, and The Great Gatsby—all in collaboration with her husband, the director Baz Luhrmann. More recently, the Australian designer turned her keen eye for style to the world of interiors. Partnering with the New Zealand–based textile company Mokum, Martin debuted Metropolis, a collection of textiles, wallpaper, and drapery inspired by the rich luxury of the Art Deco period. The line is now available at Trammell-Gagné in Seattle and Bloom Furniture Studio in Vancouver, British Columbia. GRAY caught up with Martin via phone while she was at home in Sydney to learn more about her new design venture.

What inspired the Metropolis collection? My mother is French and a large part of my childhood was spent with my French grandparents in Nevers, a small provincial town. They lived in a Deco mansion built by an Argentinean millionaire, with beautiful details including a bathroom entirely made of antiqued mirror. The house and its details have always stayed with me. I actually started designing the Deco collection for Mokum before we were committed to the Gatsby movie, so I guess some things stay in your subconscious. How would you describe the new collection? I’m always interested in a very plush luxurious look that is polished and refined, without being fussy. The [Metropolis] wallpapers are boldly patterned, but the neutral shades allow you to pair them with a lot, even other patterns. Any advice for using wallpaper in one’s home? I always start with the smallest room in the house— the powder room. Wallpaper is an ephemeral thing. You’re not stuck with it for the rest of your life. I’m a great believer that if you’re going to do it, just do it. Don’t be afraid. What’s next for you? I’d love to do flatware, dinnerware, and glassware in the future. Baz and I are working on a hotel project in Miami and we’ll be using some of the Metropolis lines. The owner and his partner are from Argentina, and in our design we want to honor their origins, but make it feel welcoming, like you’re arriving at someone’s home. It is due to open at the end of 2014. h



Be House Proud modern fires

The best in life inspired by Spark Modern Fires. Engineered to inspire. Designed to be noticed. See our photo gallery at or 866.938.3846 GRAY ISSUE No. FOURTEEN



| sourced Double-take

“It’s a whole new day for wallpaper! It’s not like when our grandmothers put it up. It’s like art now. It can give a space edge, architecture, and a touch of humor.”—Designer peter wilds 2

Trompe l’oeil wallpaper gives designer Peter Wilds’s office an unexpected sense of depth. To see more of Wilds’s work, see page 58. White Bookshelf Wallpaper from Mineheart, $115 per roll, available through Peter Wilds, Vancouver, B.C., and





On A Roll

Think outside the paint can. From glossy peacock prints to traditional toiles, these striking new wallpapers will make your walls sing. Written by NICOLE MUNSON




1. Peacock by Osborne & Little, available to the trade at AnneStarr, Vancouver, B.C., 2. Ikat Greek Key by Kimberly Lewis, $195 per roll at Vanillawood, Portland, 3. Scrapwood Wallpaper by NLXL, $299 per roll at Mint Interiors, Vancouver, B.C., 4. Utility Chairs by Deborah Bowness, $616 per panel at the Cross Décor & Design, Vancouver, B.C., 5. Versailles Grand by Cole & Son, available to the trade at Kravet, Seattle, 6. Ocelot by Farrow and Ball, $255 per roll at Brush & Trowel, Portland, h






fashion For this photo shoot, designer Michelle Lesniak and photographer Kevin Focht were inspired by Victorian-era post-mortem portraits— haunting images from the late 19th century that depict the departed, posed as if still alive. (Don’t Google it if you want a good night’s sleep).

Designer: Michelle Lesniak Photographer: Kevin Focht Stylist: Sarah Adams Models: Samantha D., Muse Models (left); Shay Bjordahl, Q6 Talent

Memento Mori

Wool-blend Morgue Dress, silk chiffon custom print Dead Leaf Blouse, High Priestess Blouse in wool flannel, and High Priestess Skirt in wool suiting.

After winning Project Runway Season 11 in 2013, Portland-based designer Michelle Lesniak wanted to prove that she wasn’t a one-hit wonder. With her new Fall/Winter 2014 Decay collection, which she previewed at FashioNXT this past October, she secured her reputation as fashion’s Next Big Thing. The concept for the collection—“the rotting and dying of something, and the beauty that comes out afterwards”—was sparked in part by Lesniak’s personal life. “I was going through a divorce, and dealing with the decay of a marriage and a lifestyle,” she says. “But through decay, beauty comes back around. You need things to break down in order to start over again.” Here, an exclusive peek at Lesniak’s new line. GRAY ISSUE No. FOURTEEN



| fashion

Lesniak’s background as a printmaker and fine artist informs her fashion work. She designed this custom fabric, a pattern of abstracted rats parading across silk chiffon. “Rats are this stark underbelly animal that breaks down nature and helps things decay,” Lesniak says. “They’re not thought of as beautiful, but they’re part of the chain that helps create life and beauty.” Lambswool Neck Muff with silk chiffon custom print Rat Gown.



When conceiving this collection, Lesniak started “sketching really raw, with a general idea of shapes and silhouettes,” and then flew down to Los Angeles’s fashion district to source fabrics. Only then did she refine her designs. “If you’re looking for something specific you’ll never find it,” she says of her process. “You have to go in with really rough edges and hone as you go.” Crushed silk velvet and leather Ren-Fair Jacket, wool-blend Spider Web Sweater, and laminated faux-fur Raven Feather Skirt.




| fashion

“When I draped the acidic brown velvet [for the Crushed Dress], I made it look like it was melting or falling apart off the torso,� Lesniak says. Crushed Dress in silk velvet.



Lesniak’s favorite discovery while sourcing textiles was “a fantastic black wool blend with a coppery tone behind it,” which shaped the Morgue Coat, pictured. “The fabric looks old, almost like it’s going to wear down.” She worked with Portland printmaker Kate Troyer to create the chartreuse chiffon custom print, its pattern inspired by late autumn leaves on a sidewalk, “when most of the green is gone and just the skeleton of veins remain.” Wool-blend Morgue Coat, silk chiffon custom print Long Decay Blouse, and wool flannel Flight Pant. h

“Through decay, beauty comes back around. You need things to break down in order to start over again.” —Michelle Lesniak




| interiors

high contrast Written by Rachel Gallaher : Photographed by



Opposite: Jessica Helgerson and Emily Shephard of Jessica Helgerson Interior Design helped transform a tiny galley kitchen in a 1926 Mediterranean-style building. The duo installed wooden beams on the ceiling to match those found elsewhere in the unit, and integrated a vintage Scottish cabinet that the clients bought 30 years ago into a wall of storage. This page: Built-in shelving optimizes the space. The white Calcutta marble countertop from Oregon Tile & Marble elegantly contrasts the cabinetry, which is painted in Benjamin Moore’s Carbon Copy.

Interior designer Jessica Helgerson helps a couple create their ideal kitchen, while respecting the historic integrity of a Spanish-style building.


hey say the kitchen is the heart of the home, and for Wilf and Mary Ellen Pinfold, that statement couldn’t ring any truer. At the end of each workday, the couple spends time together chatting, reading, or watching News Night at the island table. Centered in the Pinfold’s 2,380-square-foot unit in the historic Alhambra building in Northwest Portland, the open, light-filled space is now the perfect place to gather. Pre-renovation, however, was a different story. “The kitchen was a small galley kitchen with very dated appliances—a layout you would expect from a 1926 apartment,” Mary Ellen says. “There was no flow from the front of the unit to the back.” So in the summer of 2012, the Pinfolds hired Jessica Helgerson and Emily Shephard of Jessica Helgerson Interior Design to create a kitchen they’d want to spend time in—one designed in tune with the building’s 1920s Mediterranean style. “With every decision we made, we kept in mind what was happening architecturally and how it would fit in,” Helgerson says. In order to create an effortless flow from room to room, the team worked with contractor Dave Rush to add a large arched opening to connect the kitchen and the dining room, lining it up with an identical opening already in the living room. They also installed wooden beams across the kitchen ceiling to match the original ones elsewhere in the condo. »




| interiors

At the far end of the room, dark-painted floor-to-ceiling shelving surrounds a window original to the building. Mary Ellen enjoys curling up on the sofa underneath, pulling down a few cookbooks for mealtime inspiration. (She says she will never be done adding books to her collection). Badajoz encaustic concrete floor tile adds a touch of glamour while echoing the pervasive black-and-white contrast throughout. If the kitchen is the heart of this home, then the island is the soul. Crafted by Portland woodworker Kai Fuhrmann of Master Furniture Makers, the Spanish-influenced turnedleg piece is a popular gathering place for guests to chat while the Pinfolds cook. Metal pendants overhead provide extra light in the evening if either Wilf or Mary Ellen wants to read or catch up on work. “We love to have friends over for dinner,” Mary Ellen says. “Appetizers can be served at the center table, and folks can visit on the window seating and sofa while final cooking is completed. No lonely cooks!” h

Bookshelves surround the gold velvet-upholstered sofa. A custom task light from OneFortyThree provides extra brightness. The side table is the perfect place to set a cup of coffee or glass of wine—the Pinfolds had a custom marble top made for the vintage piece.






Cluny Tile by Granada Tile lends graphic impact to the walls at the new Olympia Roasting Coffee Company in Olympia, Washington. From $8 per 8”-square tile at Ann Sacks, multiple locations,


1. Hexon Tile by Mod-Craft, $79 per square foot at Statements Tile & Stone, Seattle, 2. Alcazar Mosaic Tile by New Ravenna Mosaics, $275 per square foot at Ambiente European Tile Design, Bellevue, WA, 3. Lara Mosaic Tile by Waterworks Parramore, $153 per square foot at Chown Hardware, Portland, and Bellevue, WA, 4. Stonewood Mosaic Tile, Petit Alliance Pattern PA4 by Tabarka Studio, price upon request at World Mosaic, Vancouver, B.C., 5. AnTeak Round Mosaic Tile by Walker Zanger, $33 per square foot at United Tile, multiple locations, 6. Scraffito A 8”-square by Pratt & Larson Ceramics, $76 per square foot at Pratt & Larson Tile & Stone, multiple locations,

4 5


Go for Bold!

Fight the gray-sky blues with a dose of surface sunshine. Whether it’s a punchy pattern or unexpected material, the right tile can take an ordinary space from bland to bold. Written by Jasmine Vaughan




| interiors

fashioned forward



THIS PAGE: Devoting a corner of the living room to a grand piano meant there wasn’t space for a sofa, so interior designer Marianne Simon opted for a pair of generously proportioned armchairs from Lee Industries. The ottoman is upholstered in Kravet linen. The chandelier is from Williams-Sonoma Home, the sconces are from Visual Comfort, and the mirror is from Restoration Hardware. OPPOSITE: In the dining area, Simon hung a set of black-and-white photographs that her client took on a recent trip to Florence. The Restoration Hardware dining table and chairs are complemented by an animal-print banquette from Lee Industries.


Designer Marianne Simon took a dated ‘80s home into the next century with white walls and dark finishings. Written by DEBRA PRINZING : Photographed by HOLLI DUNN and Marianne Simon

arol Ann and Kevin Browne loved their spacious, late 1980s-era home in Bellevue, Washington, which they purchased when their children were babies. Thirteen years later, though, it was time to make some changes—starting with the living and dining rooms, which the family hardly used. To modernize the spaces, which were decorated in gold and burgundy during what Carol Ann refers to as her “French Country period,” the Brownes started by refacing the fireplace surround with charcoal-colored slate and installing stained hardwood floors. Then they turned to Marianne Simon, principal of Bellevuebased Marianne Simon Design, for help with furniture, lighting, window coverings, and other finishing details. “Carol Ann wanted something light and bright,” Simon says. “I wanted to give her a timeless, classic space using neutrals and a contrast of dark and light.” She coated the walls

with Navajo White paint and the wainscoting and trim with White Dove, both from Benjamin Moore, and installed dramatic, oversized ceiling lighting. Stick bamboo shades in the living room and custom floor-length linen draperies in both rooms echo the organic vibe of the seagrass area rug. Carol Ann wanted to get rid of a frilly round footstool, but her designer saw the potential for a Cinderella-like transformation. “We turned it into the coolest-looking ottoman,” Carol Ann raves. Now covered in natural linen with tailored pleats and Greek key trim, the piece is topped with a tray and provides extra seating in a pinch. The curvaceous lines of the ottoman and armchairs in the living room are repeated in the dining room’s round pedestal table and curved, high-back banquette. Additional chairs in saddle-colored leather provide enough seating for family meals. “Now we use the dining room every night,” Carol Ann says. “It’s nice to get away from the TV and talk together.” h GRAY ISSUE No. FOURTEEN




ranch photographs courtesy imperial stock ranch


| made here

Thanks to partnerships with fashion designers Anna Cohen (2010 collection, middle) and Ralph Lauren (bottom left), Imperial Stock Ranch (top left and below) is entering a stylish new era.

In the summer of 2012, Jeanne and Dan Carver of Imperial Stock Ranch got a call that drastically changed their lives. The owners of a Shaniko, Oregon, ranch picked up the phone to find that Ralph Lauren wanted to use their yarn for a special project—later revealed to be the U.S. Olympians’ uniforms. The 35,000-acre ranch has been raising sheep for 142 years and producing yarn since 1999. Its roots can be traced back to its founder, Richard Roland Hinton, who was born in a wagon when his family came west on the Oregon Trail. This made-in-America credibility, and the ranch’s renowned high-quality yarn, were exactly what Ralph Lauren, Team USA’s official designer, was looking for when it came calling. After being criticized for producing the U.S. Olympians’ apparel in China for the London games in 2012, Lauren pledged to source, design, and manufacture the 2014 uniforms entirely in America. Connecting with the Carvers was one step toward that goal. After six months of screenings and a site visit, the company ordered 5,625,000 yards of Imperial yarn, used to knit Team USA’s opening-ceremony sweaters, which will make their official debut in Sochi, Russia, on February 7. Ralph Lauren also enlisted more than 40 other U.S. enterprises in his effort, ranging from a See the ranch in Ralph Lauren’s Made In America video: graymag .net/olympics

Spun Gold

A collaboration between Ralph Lauren and a rural Oregon sheep ranch spells Olympic-sized success. Written by Alanna Greco

dyeing plant in Hickory, North Carolina, to a knitting company in Los Angeles. This isn’t Imperial Ranch’s first foray into fashion, though it’s certainly the most high profile. In 1999, during a period of offshoring and globalization that contributed to 26,000 American sheep producers going out of business, the ranch lost its wool buyer to a cheaper producer overseas. In response, Jeanne started a homegrown clothing operation, recruiting 20 local women to make garments with Imperial Stock wool. In 2009, she partnered with designer Anna Cohen to headline Portland’s fashion week with a ranch-to-runway collection. Carver and Cohen are currently working on their 2014 line, Imperial Collection by Anna Cohen. And the ranch’s collaboration with Ralph Lauren may continue—it is now sampling for the designer’s fall season. Carver’s family and ranch staff are still reeling from their recent successes: the Ralph Lauren deal doubled their sales and has kept Carver busy with emails and phone calls from a growing number of interested companies. But she has no complaints. “After many decades of obscurity on this ranch, now all of a sudden we’re on people’s radars,” Carver says. “This whole thing … is bigger than dreams. I never would have dreamed this big.” h GRAY ISSUE No. FOURTEEN


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In Living Color

Who’s afraid of bright hues? Not the notoriously neutral Northwest—if you know where to look.


above left: Jennifer Winter; above right:

Written by Debra Prinzing and Lindsey M. Roberts

ABOVE LEFT: Designer Lisa Staton spikes a nature–inspired palette with colorful accents in a Clyde Hill, Washington, home. ABOVE RIGHT: Terra Nova Nurseries in Canby, Oregon, has developed over 800 hybrids, including the fiery Dixie Blaze coneflower.

he Pacific Northwest has had a long love affair with grays and browns. Yet many of us crave color as an antidote to the earthiness around us. Amid the stony skies and blue-green evergreens, bright colors appear uniquely brilliant—and pose an opportunity for local designers, who wield them strategically in their work. “We don’t have a lot of sunlight that sucks the color out,” says Leatrice Eiseman, a Bainbridge Island, Washington–based color consultant, author, and the leader of the team that makes Pantone’s annual color-of-the-year announcement. “So when you use bold color in an atmosphere such as ours, it will be even bolder.” Just ask Merrill Greene, transplanted to Seattle five years ago from New York as color and trend director for Nordstrom’s fashion office, who sees “a resistance to woodland and mossy or naturedriven colors,” she says. Moving into 2014 and

| essay

2015, she predicts that we’ll see two palettes that reveal the duality of our Northwest personality: a cheery pink-lavender spectrum she calls “parma violet,” and the “sensitive minimalism” of blue-grays. Of the latter, Greene says: “Think of the complexity of sand or driftwood. These are colors that require some contemplation. It’s much more about tonalities and subtle shading.” Beyond fashion, our homes offer a special opportunity to be bold. After all, “domestic architecture, single-family residences especially, are personal spaces which do not need to cater to the needs of others,” says designer Chris Hunter, of HunterOffice and ASIRstudio/architekten in Vancouver, British Columbia. For timid clients, Hunter likes to “slip color” into a project by “utilizing millwork to incorporate subtle color in an integrated pull or a cabinet interior. That type of color is experiential and not just lipstick on a bland house.” Though he loves integrating color into architecture, he understands the desire for restraint: “Neutrals, black, white, and gray tones are always going to be timeless because they perform well as backdrops to everyday life, colorful furniture, or decorative elements in a house.” Indeed, the vibrant palettes of Miami, Mexico, or Italy would feel “a little wacky here,” says interior designer Lisa Staton of Bellingham, Washington. As she explains, “I think you need to respect the palette of nature. Intense colors can work well in small doses, but a Northwest home needs to be in rhythm with nature, and being vivid is not natural in our environment. Deeply saturated colors, though, are compelling.” » GRAY ISSUE No. FOURTEEN



| essay

One place where vivid color has always ruled is in our gardens. Thanks to our subdued light, Northwesterners tend to find colorful or variegated foliage restful rather than jarring, says renowned plant breeder Dan Heims, president of Terra Nova Nurseries in Canby, Oregon, which has introduced a record 800 new hybrids—many of them unusually colorful—in the past two decades. Heims, an Oregon native, believes that

ABOVE: Vancouver designer Chris Hunter likes to sneak color into his projects via Formica-clad millwork. RIGHT: Purple hues such as Radiant Orchid, Pantone’s color of the year, will likely be big through 2014, as witnessed in Max Mara’s Spring collection. FAR RIGHT: Callison’s design for a multiple sclerosis clinic incorporates shades of blue and gray. “Blues are an easy transition from the exterior into our interiors,” says Callison’s Lindsay Willingham.



his regional point of view has informed Terra Nova’s horticultural alchemy. “When one grows up in the Northwest, there is an acceptance for all that is gray—rocks, fog, clouds, and coast. But it’s the vibrancy of flower and leaf that grabs the eye—a beacon that causes us to cross a garden and bask in the moment.” Still, there will always be holdouts for tried-andtrue neutrals because in our part of the world, a gray area is a good thing. And if you find yourself somewhere in the middle of the spectrum, cutting-edge metallics can bridge the gap. Those finishes feel fresh and new in architecture right now, says Lindsay Willingham, the manager of Callison’s Design Resource Center. “Sometimes it’s just a thread woven through a textile or a leather trim. Gloss and metal reflect light, which activates a space.” The trend has even tipped into our cocktail glass, according to Seattle’s longbeloved chef and mixologist Kathy Casey. “With our economy getting reinvigorated, people like a little bling,” she says. “I’ve created quite a few drinks with luster dust in them or a sprinkling of 23-karat gold flakes on top. I love the sparkle.” Whether you believe that silver, ash, and iron should be embraced in design, or that our weather calls for kaleidoscopic contrasts, there is one thing we know to be true about design in the Pacific Northwest: We’re not afraid to let our true colors show. Sparkle on. h

clockwise from top: Jeremy Van Nieuwkerk; ©2013 Callison LLC; courtesy max mara

“HERE, there is an acceptance for all that is gray—rocks, fog, clouds, and coast. But it’s the vibrancy of flower and leaf that grabs the eye—a beacon that causes us to cross a garden and bask in the moment.” —plant Breeder Dan heims

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| shopping

CLOCKWISE FROM TOP: Aurora Bottles, $200 each at Vitreluxe, Portland, ❈ Central Park Sofa, from $2,200 at Duralee, Seattle, ❈ Scotch Club light by Marset, $967 as shown at LightForm, Vancouver, B.C., ❈ Hug Lounge Sofa Armchair by Autoban for De La Espada, $3,115 at Digs, Seattle, digsshow ❈ Piccola Papilio chair by Naoto Fukasawa, from $2,795 at B&B Italia, Seattle, ❈ Alba vase planters by Serralunga, to the trade at Cubo Design, Richmond, B.C.,



Heracleum II Small by Moooi, $2,649 at Livingspace, Vancouver, B.C., ❈ Brock (clock), $65 at Landon Dix Design + Craft, Vancouver, B.C., ❈ Stella Chaise, $1,499 at Room and Board, Seattle, ❈ Wool Shag Pouf, $425 at Calypso St. Barth, Seattle, ❈ Halifax Chair by Gus Modern, from $995 at Hip, Portland, ❈ Spirit Animal paper cutout by Laura Jean Graham, $280 at Antler Gallery, Portland,


In the left corner, we have seductive saturation wielding scene-stealing wiles. And in the right corner, it’s cool and composed neutrals ready to ice the competition. Which side will be declared the winner of this chromatic battle royale? We’re betting on a stylish standoff. Written by STACY KENDALL





Kelly Wearstler’s Sora Velvet in aqua blue helped set the stage for a theatrical living room in a Portland penthouse, designed by Cielo Home co-owners and interior designers Matthew Boyes and Frederic Koeleman. The pillows are covered in Schumacher’s Chiang Mai Dragon and GP&J Baker’s Floral; the rug is an antique Sarouk from Cielo Home. The baronial mantel, light-box end tables, and floor lamps were all custom made. Zebra lounge chairs from Kravet and a pink mohair throw from Portland’s Maison Inc. can be seen in the adjacent media room.



full spectrum More is more in an adventuresome penthouse in Portland. Written by LINDSEY M. ROBERTS : Photographed by DAVID PAPAZIAN



“When we design a space, it’s not set in stone. We want people to enjoy and live with their furnishings and move them around and change things up.” —designer Matthew Boyes

The interior designers’ talent is evident in their ability to turn what could be a raucous cacophony of prints and patterns into something elegant. In the media room, the wallpaper is Fornasetti’s Ex Libris from Cole & Son; the fabric on the chaise lounge is a Japaneseinspired geometric pattern called Sloane by Manuel Canovas; and the lamp is vintage.



The dining table was custom made to split in two for parties or easy transport. Antique chairs are upholstered in Schumacher’s Adras Ikat. The Murano glass chandeliers were found on 1stdibs and shipped from New York in a crate the size of a Volkswagen, Boyes says, and took two months to put together.



“They wanted to be pushed a little bit outside their comfort zone. She fell in love with the blue Kelly Wearstler fabric. And then the antique Sarouk rug. And then we just sort of built things from there.” —designer Matthew Boyes

nterior designers Matthew Boyes and Frederic Koeleman start each of their projects by creating a wide-ranging test palette of fabric and furniture options, and then presenting it to their clients. “We wait for them to react and then we see how we can massage it together,” Koeleman says. When the two designers and co-owners of Cielo Home in Portland did this for a young couple with children in 2012, the wife picked a blue wave-patterned fabric from Kelly Wearstler and a tomato-red antique Sarouk rug blooming with flowers. Where to go from two such seemingly incongruous choices? For Boyes and Koeleman, the answer was clear: upholster the sofa with the Wearstler fabric, put it on the Persian rug, and sprinkle it with an eye-popping array of pillows, of course. In the adjoining entertainment room, Fornasetti Ex Libris trompe l’oeil wallpaper cohabitates with zebra-print club chairs and pink plaid throws. Somehow, against all odds, it works. Before, the 5,000-square-foot condo in the Southwest Waterfront neighborhood “was just really hard edge and super modern,” Boyes says. “There was none of their personality in the space. We think people should bring into



their homes the things that they like, and allow themselves to make mistakes sometimes, happy mistakes, to bring joy into their surroundings. I think we did that with all the fabric.” The original Wearstler choice now seems appropriate, since the finished living room exudes her maximalist design philosophy. And while the home is undoubtedly glamorous, Boyes argues that he and Koeleman are really minimalists. “Everything that we introduce into the mix has to be of quality, or real, or have some sentimental connection for the homeowners,” he says. There’s nothing superfluous in this space, nothing careless. The 10-foot-long ash-topped, steel-based dining room table, for example, can be separated into two, allowing maximum versatility: It can be joined for big gatherings, or halved into an adult and kid’s table for a holiday party—or to facilitate transport to a future residence. Similarly, the velvet-upholstered breakfast banquette is affixed to the wall, but easily removable. The condo “is fun and urban, but it’s their [the clients’] dream to have a contemporary version of a farmhouse one day,” Boyes says. “These pieces are going to eventually end up somewhere else.” Until then, their renovated penthouse is home—exuberant, unexpected, and unapologetically fabulous.

In the entry hall, the retro Leopold wallpaper from Designers Guild offers guests only a hint of what’s to come in this captivating home. Lamps on top of an antique Chinese entry table flank a Venetian antique mirror. The dramatic umbrella stand is by Bunny Williams; the sconces are vintage; and the Apollo ceiling light is from Cielo Home.



THIS PAGE, TOP: Red chaise lounges by Fermob are poised to enjoy the view of the Willamette River. The topiary boxwood is from Boxwood Garden nursery, sold at Bentley. THIS PAGE, BOTTOM: Hidden behind the high design are smart audio–visual touches by Portland’s Quadrant Systems. In the media room’s walls, for example, are three layers of sound-dampening materials to ensure that neighbors can’t follow the plotline of family movie night. OPPOSITE: Missoni Home’s Passiflora pattern lends a psychedelic feel to the banquette, which is removable for when the family eventually does move. The custom breakfast table and coral bead chandelier are both from Cielo Home. h





Designer Peter Wilds used purple and yellow accents throughout this 500-square-foot, 30th-floor condo in downtown Vancouver, British Columbia. The yellow dining chairs are by MDF Italia, from Livingspace, the black Florence dining table is from Calligaris, and the black Delta pendant, designed by Rich Brilliant Willing, is from Lightform. A framed vintage piece from Scott Landon Antiques in Vancouver adds a whimsical note. o



Small Wonder

A 500-square-foot Vancouver, British Columbia, condo is a tailored study in living well with less space. Written by ERINN GLEESON : Photographed by JANIS NICOLAY

First he lived in an old apartment overlooking Vancouver, British Columbia’s renowned Stanley Park, then in a historical warehouse. Next, the client wanted to live in the sky, high above the city—and he wanted to do it in only 500 square feet. “I felt it was time to do more things with less income and free myself up from the idea of having shackles of things,” says the semi-retired lawyer. “I wanted to

downsize my lifestyle but keep the comfort and chicness and fun of living in a place downtown.” Vancouver interior designer and friend, Peter Wilds, of Peter Wilds Design, was the obvious man for the job. The two had collaborated on the client’s previous two homes over the last 10 years, so it was only natural that Wilds help develop the third property, too. »



“Because it was a studio apartment, it wouldn’t really be about having dinner parties with large groups of people,” Wilds says of his plans. “Instead it would be about having drinks in the evening with friends and then moving on somewhere for dinner. It was also to be a little bit lounge-y with a casual-bar kind of feel.” To achieve this effect, Wilds split up a BoConcept sectional, creating two informal, slipcovered chaise lounges; paired a gold Jonathan Adler brass table with a wood one from BoConcept; and contrasted the satin cushions with an edgy cowhide rug from Spencer Interiors. The lighting is similarly eclectic, encompassing a vintage table lamp from Bombast, a Mirror Ball Floor Lamp by Tom Dixon, and a black matte Quart Floor Lamp by Rich Brilliant Willing from Lightform. The bottle prints are from the Cross Décor & Design.



“The idea was to have the illusion of expanding the living room into the air—so when you sat down at night you could see the lights and “We were in designing a product that is in contrast to feel like youinterested were floating out to the city.” —the CLIENT our electronic environment. A way to relax at the end of the day or socialize with friends that doesn’t include a television, computer, or personal electronic device.’’ —Darin Montgomery, Urbancase



To blend the kitchen into the larger space, Wilds paired the existing white cabinets with a new neutral backsplash from Vancouver’s Stone Tile.

“My work is always a mash-up. The minute I bring in something really polished and refined, I want something raw right next to it. Or when something is very feminine, I immediately have something masculine by it. I’m always playing.” —Designer Peter Wilds

To make the most of the limited square footage, and to optically extend the living space, Wilds clad an entire wall with floor-to-ceiling mirror. “My use of mirror was tricky because I didn’t want it to look cheesy or dated, but it’s an effective, cost-efficient way of blowing open the space and reflecting the view,” he says. Storage is also key: The mirrored panels open to reveal organized closets and the modern white lacquered credenza below the TV hides personal belongings. After a decade or so living with a very white palette, the client was ready for some color, and so the designer chose gold as a jumping-off point. “It’s still a neutral but it has tremendous warmth,” Wilds says. He placed a brass side table by Jonathan Adler and a purple leather ottoman by



the Cross Décor & Design on either side of a sectional from BoConcept, which Wilds split up and slipcovered to create two chaise lounges. “Objects like these serve multiple roles: they are sculptural for the room and also become functional because everyone beelines for them for seating,” Wilds says. To maintain a bright, airy feeling—especially important given the studio’s size—Wilds coated the walls in Benjamin Moore’s Natural Cream. A fun, chic space is what he wanted, the client says, and as far as he’s concerned, that’s exactly what Wilds delivered: “When it was done it was spectacular! It felt very urban but like living in a little jewel high in a tower. With the city lights reflecting in the mirror, it all looked very Manhattan.” h

“I like applying wallpaper to the ceiling and on the inside of cabinets and closets. In the client’s sleeping nook, I ran vertical stripes up the wall, onto the ceiling, and down the opposite wall.” —Designer Peter Wilds

for more advice from Wilds on using wallpaper, SEE page


“The sleeping space was technically a storage locker attached to the studio suite from the inside,” Wilds says. To “visually blow open the space,” he clad the exterior and part of the interior with custom mirror. The gold gnome stool by Kartell from Livingspace acts as a bedside table, and the amber pendant fixture by Tom Dixon from Inform Interiors lends a warm glow. The goat image, from Mint, is actually the face of a cabinet; it opens to reveal the apartment’s electrical box. The headboard is a custom piece by Peter Wilds Design, made with Nina Campbell Filigrane Belzoro fabric; the bedding is by Provide; and the wool throw is from the Cross Décor & Design. The striped wallpaper is Oxbridge from Designers Guild. GRAY ISSUE No. FOURTEEN


A walk-through, pop-up installation in Portland showcases local talent and American-made design.


bliss Written by RACHEL GALLAHER Photographed by DAVID PAPAZIAN Portrait by Lavenda Memory



In 2012, after attending graduate school at the Domus Academy design school in Milan, Italy, interior designer Jasmine Vaughan came home with a big idea. “When I was in Milan, I noticed that the Italians are very, very proud of things made in Italy,” she says. “It made me realize that that focus and pride was missing with what we design and make [in the United States].” With the goal of bringing U.S. talent forward, Vaughan started her blog, Made & State, in February of 2013, writing about American designers and products. Eight months later, Vaughan was itching to bring the blog to life, so she launched Domestic, inviting seven designers to transform three apartments and the rooftop patio in downtown Portland’s Janey building into a showcase of local and national design. To Vaughan’s delight, the five-day event drew around 500 people—double the attendance she expected—exposing them to an abundance of creative talent. This year, she hopes to stage Domestic in a standalone house, bring in more designers, and once again double attendance.


OPPOSITE: Jasmine Vaughan of Made & State, in the studio she co-designed with Holly Freres of JHL Design. Vaughan describes the room as “a combination of sexy ‘70s bohemian and organic midcentury.” THIS PAGE: The standout sectional is vintage Milo Baughman from Portland’s Good Mod, upholstered in blue velvet. Vaughan and Freres opted to keep the walls, rug by Chicago’s Flor, and custom coffee tables by Freres neutral to offset the bold art, including a color photograph by Portland’s Tyler Snazelle. The architectural Triad 9 light fixture is from New York City–based Apparatus Studio and the gold sunburst piece is vintage.



Made & state + J H L D esig N below: Vaughan and Freres created a custom desk for the studio apartment using burlwood from Goby Walnut in Portland and steel legs crafted by local metal fabricator Rob Roy. An Eames Management chair from Design Within Reach, Carafe table lamp from Portland’s Rejuvenation Lighting & House Parts, and a custom JHL-designed stool draped with Mongolian wool from Curly Fur Imports round out the tableau. RIGHT: The apartment’s bathroom exudes ‘70s glamour, with gold-and-black Forest Leaves wallpaper from Hygge & West and funky geometric Hruskaa brass himmeli wall planters.



F ig S tudio A rchitecture + I nteriors above left: “We explored the use of multiples, mixing wood species and topographically inspired textiles in our space,” says Jeff Guggenheim of Fig Studio Architecture + Interiors, who collaborated with his wife and partner, Jennifer, on this bedroom. The walnut Whitman Bed, a new design from the Joinery in Portland, is topped with bed linens from Walter and graphic throw pillows by Carley Kahn. A group of Aurora Lamps by the Good Flock make a wow-worthy light installation.

B ea m & A nchor

J ennifer F ow l er I nteriors

ABOVE RIGHT: Jocelyn and Robert Rahm, the husband-and-wife team behind the Portland shop Beam & Anchor, source most of the products they sell from small, West Coast vendors and craftsmen. They featured some of their favorite discoveries in this living room, including a walnutand-metal table by Robert and walnut chairs by Benjamin Klebba of Portland’s Phloem Studio. The sculptures on the wall are by Klebba’s girlfriend, Laura Buchan. RIGHT: Faced with the challenge of a tiny bedroom, interior designer Jennifer Fowler opted for “low, floating furniture to allow for maximum wall exposure, so the space felt more dramatic.” She worked with Ghilarducci Studios to fabricate a bed and nightstands, and painted an accent wall in a high-impact hue (Benjamin Moore Nightfall). An ethereal Aura Light by Ladies & Gentlemen Studio from Woonwinkel floats above a brasswrapped, bronze mirror–topped table. The linens are from Alder & Co., Design Within Reach, and Holy Lamb Organics.




“The Northwest is a design-lover’s paradise. I launched Domestic to bring that talent more to the forefront.” —Jasmine Vaughan, Made & State For Fieldwork Design & Architecture, the sky really was the limit as the firm tackled the Janey’s rooftop deck. Interior designer and Fieldwork owner Tonia Hein and her team sought “to create an installation that fit within the urban landscape of the city, designing and fabricating objects of different scales to be used in multiple ways.” The deck already had wooden benches, planters filled with wispy grasses, and a rectangular fire pit. To soften the space, Fieldwork brought in throw pillows and drum-shaped seating upholstered in salvaged Pendleton Woolen Mills blanket headers, as well as their own raw-steel pentagon planters, both large (top left) and small (top right). According to Hein, each piece was sourced and custom-fabricated within a 15-mile radius of the firm’s Southeast Portland studio.





exter ior


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For the entire month of March we offer 15% off our extensive collection of exterior furnishings — all designed for the great outdoors. Certain restrictions apply. V I S I T W W W. T E R R I S D R A H E I M . C O M F O R D E T A I L S .


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BRIGHT DESIGNLAB Leela Brightenburg and Alissa Pulcrano of Bright Designlab, an interior design firm with graphic design expertise, invented a client—Ace, a 36-year-old set designer with a penchant for punk rock—as a springboard for decorating a living–dining room and kitchen. “Ace has an eye for the absurd, and loves to mix it up,” Pulcrano says. Atop the overdyed fuschia rug, a vintage piece from Kush Handmade Rugs in Portland, two side tables designed by Bright Designlab serve as a coffee table and lend the space a youthful vibe. A large black arrow painted on the wall and ceiling over the Bright Designlab dining table and Eames chairs draws the eye to a swing lamp from Onefortythree. Above the Milo Baughman sofa from Design Within Reach hangs work from local artists, including Theodore Holdt and Eve Loggins Mosieur. h

“This design is built on simple Scandinavian-influenced forms juxtaposed with uncommon geometries, layering of pattern, and a somewhat surprising crescendo of color.”



—Designer Alissa Pulcrano








Kevin G. Smith Photography


The ELEMENTS Issue • Design Inspired by the Natural World • Homes with a View, from Anchorage, Alaska, to a Rugged B.C. Island • A Fresh Look at Wood, Metal, and Leather • Dynamic Duos: Behind the Scenes with Couples Who Live, Work, and Design Together

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studio visit

Tamara Codor and Sterling Voss in their 1,700-square-foot studio in Seattle, beneath one of their signature Objet Trouvé mirrors. The coffee table is a chunk of wood that Codor found on the street and glitzed up with silver leaf, handcharring, and epoxy.

Treasure Hunters The rising-star designers behind Codor Design take GRAY on a tour of their fantastical studio-laboratory in Seattle’s Pioneer Square. Written by Jaime Gillin : Photographed by alex hayden

Tamara Codor and Sterling Voss met in 2011 at a furniture exhibition and immediately hit it off. She was a classically trained fine artist and set designer. He was a commercial furniture designer. The timing was fortuitous: independently, both had decided to make a career change. After bonding over shared aesthetics and influences (Tony Duquette’s elaborate installations, books by Christopher Alexander), they decided to combine their skills and make things together—“to create pieces of furniture that command you the way a piece of art does,” as Voss puts it. In the past two years, Codor Design has established itself as one of Seattle’s most unpredictable and exciting partnerships. Codor and Voss share a fearless approach to experimenting with materials; a low tolerance for boredom; an intense work ethic; and serious hermit tendencies—a



combination that makes their partnership, Codor Design, uncommonly prolific. (“We don’t go out, we don’t do anything else—we literally work all the time,” Codor says). Their output is prodigious, ranging from glass-and-steel tables to hand-painted wallpaper to maple casegoods to a new collection of metal lighting, currently in production. The duo’s to-do list is growing, too: they’re currently developing a line of upholstered pieces and wall coverings and are collaborating with Ben Verellen, an electrical engineer, to create speaker-like “music boxes.” This diversity is a natural evolution of their design-as-art approach to business. As Voss puts it, “Our goal was setting up so we could make anything we want. If something is boring or makes us feel constrained, we just drop it. It’s how we want to live, and it’s how we want to work.” »

The seating area comprises vintage pieces and a prototype pair of walnut-and-suede Cube Club chairs, part of Codor Design’s forthcoming upholstered collection. The Concentric coffee table and Hanging bookcase (shown below) are two of their most popular designs, but Codor and Voss aren’t particularly eager to churn them out. “I love this coffee table but I don’t want to make 10,000 of them,” Voss says. “When we design something we’re never thinking ‘How many of these can we sell?’”

“I’m always interested in dynamic compositions. This piece reads as really three-dimensional from any position you look at it. I like making pieces that throw really great shadows— maybe that’s from my years as a set designer.” —Tamara Codor GRAY ISSUE No. FOURTEEN


studio visit

Ali, a Samoyed, lounges beneath a blackened fir table in the kitchen, which is used by caterers during events (the pair frequently rent out their studio for parties and product launches). Upstairs is an office space. Codor and Voss found the staircase and the railing at architectural salvage yards, and retrofitted and installed them with a team of interns.

Codor and Voss designed the Spiral Staircase Chandelier to echo their staircase and “balance the room out,” Voss says. This prototype is made of riveted spun metal and brass-plated tubes. A refined version was just installed in a home on Mercer Island.

“Our Objet Trouvé series is made up of pieces we’ve found and assembled and gessoed and plastered. This is our newest iteration—it’s a curiosity box, inspired by specimens under glass at natural history museums. We’re still working out the details. I’ve been working on this one for two months; adding, and taking away, and troubleshooting. They take so much time and focus.” —Tamara Codor »



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studio visit “We look for a strong central form to base each mirror around. Once we have our central object, we make up a little story about it, depending on what’s around it. If we have a ship next to coral, it’s a sea mirror. But if there’s an elephant next to the ship, that reads as very colonial East India to me.” —Tamara Codor

A wall by the worktable is dedicated to works in progress. RIGHT: A close look at Birds of Paradise, one of Codor Design’s first Objet Trouvé mirrors, reveals a veritable aviary, with birds made from plastic, metal, and paper origami—all skinned with a generous coat of plaster.

“Anytime an item strikes us as sculptural in any sense, we pick it up. We search for objects three or four times per week, at thrift stores, garage sales, and gift shops. … The key is to look past how ugly it is—past the coloring, past the function of the piece—to look just at the form. Once they get their coat of white PLASTER AND paint, that changes them radically.” —Tamara Codor h







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 “The original door swinging into the space made the bathroom feel cramped. Replacing it with a sliding door clad in the same wood as the walls has a huge impact on the space,” Stern says. The trolleys and track are from Krown Lab.

To keep the budget down, architect Jeff Stern reused the existing mirror. Mounting it flush with the wood “helps the walls feel more like a single continuous surface wrapping the room,” he says. A wall-mounted vanity and faucet reinforce this idea.

Fir Coating Recycled and reused materials boost a dated Portland bath.




Stern’s contractor, Right Arm Construction, helped source reclaimed tongueand-groove planks from an old dock on the Willamette River. To make the material work in a wet environment, they installed the planks like exterior siding, with a continuous waterproof membrane and furring strips behind them to allow for air circulation.

Jeff Stern is proving, building by building, that

first-class design doesn’t have to cost an arm, leg, or your child’s college tuition. The architect and owner of In Situ Architecture in Portland, a firm focused on energy-efficient buildings, faced a serious design challenge when tasked with updating the bland, 45-squarefoot bathroom of local contemporary artist Storm Tharp. Tharp desired a unique space, but due to budget constraints he couldn’t expand the room, nor relocate the existing plumbing. Overhauling the space cosmetically was the only option. Luckily, the architect and artist soon found themselves on the same page. “We both quickly became enamored with the idea of a room completely clad in wood, and we used the traditional Japanese bathhouse as our conceptual inspiration,” Stern says. Other clever interventions soon followed, including installing a custom lemon-yellow vanity to juxtapose the reclaimed Douglas fir walls and a skylight to flood the room with sunlight. We picked Stern’s brain for more insight into the transformation, above. h

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| hospitality

A Fresh Start

Heritage-inspired interiors by Evoke International Design prove a fitting match for a new restaurant in Vancouver, British Columbia. Written by Rachel Eggers : Photographed by Janis Nicolay


oday, Heirloom Restaurant, a vegetarian eatery tucked amid the high-end shops and art galleries in Vancouver, British Columbia’s burgeoning South Granville neighborhood, reflects a meeting of culinary and design minds. But it wasn’t always that way. Occupying the ground floor of a 100-year-old heritage building, the 2,400-square-foot space was formerly a casual Mexican restaurant with purplish walls, dark wood, and TVs. The new owners wanted something much fresher. »



Emerald Vitra chairs pop against the tiled bar. A collage of cabinets forms an eclectic backdrop for yellow-trimmed pendant lights from Portland’s Rejuvenation Lighting & House Parts. OPPOSITE: Existing brick walls in the 100-year-old building were whitewashed to give Heirloom Restaurant a fresh feel while embracing the original architecture. GRAY ISSUE No. FOURTEEN



| hospitality

“We wanted to play the old against the new and avoid those stereotypical salvaged interior trappings you see today.” —designer david nicolay

Kentwood Engineered Floor sourced from Metropolitan Hardwood Floors complements the original windows and brick walls. Modern silver sconces from Rejuvenation Lighting & House Parts seamlessly blend with the rest of the décor.

“The goal was to represent Heirloom’s sustainable food concept, repurposing the space and its materials while working with the existing interiors,” says designer David Nicolay, of Evoke International Design, who along with his partner, graphic designer Robert Edmonds, took on the extensive remodel. Nicolay and Edmonds are restaurateurs in their own rights—they own Vancouver’s Union, the Cascade Room, and El Camino’s, among others—so they worked from Heirloom’s concept when approaching its design. Applying the restaurant’s culinary philosophy—“we make



good choices”—to the design approach meant avoiding what Nicolay calls “heritage pastiche.” “We wanted to play the old against the new and avoid those stereotypical salvagedinterior trappings you see today,” he says. Instead, Evoke let the building’s historical elements speak for themselves. Existing concrete and brick throughout the space, including the walls and an original fireplace, were whitewashed. The designers removed a barrier wall to maximize light »

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| hospitality

Small details such as the antique tools on the wall and the pintsized terrariums on the tables and bar tie the fresh, locally sourced cuisine to the modern–rustic design. Evoke’s Robert Edmonds created color-saturated collages from vintage food labels and cartoons, which lend an air of playfulness to the dining area.

from the arched windows, and clad other surfaces in reclaimed fir paneling made lustrous with white oil. Behind the bar, they installed a constellation of vitrines made from reclaimed wood windows and cabinets to house glass vessels, tiny terrariums, and fixings for Heirloom’s cocktails. And a collection of antique tools, artfully hung on one wall, is a nod to the designers’ salvaging efforts.



Next, the firm added polish with fresh, modern details. The room is polka-dotted by clean-lined Vitra Hal chairs and barstools in white and emerald, and the bar and a service area are tiled in a dynamic white chevron pattern by Ann Sacks. The mix of old and new continues with the art and lighting: Edmonds created colorful multimedia collages of vintage produce labels and cartoons that add a dose of humor to the space, and the lighting is an eclectic mix of angular, silver-toned pieces on the walls, oversized wool fabric pendants above a communal table, and Art Deco–inspired painted glass pendants at the bar. Nicolay notes that the overall effect is “modern and clean, with a subtle nod to the past.” It’s an appropriate place to enjoy Heirloom’s organic, mostly locally sourced cuisine. After all, both the design and the food stem from the same values: environmental sensitivity and old-school ideas of eating simply. h

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resources 2. Hive Portland 4. Mitchell Gold + Bob Williams Portland 9. Room & Board Seattle 10. Chown Hardware Portland and Bellevue, WA 11. The Modern Fan Co.

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Burritt Bros. Carpets and Floors Vancouver, B.C.

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Contemporary Art Gallery Vancouver, B.C.

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Frye Art Museum Seattle

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Zoë Pawlak Vancouver, B.C.

IIDA Northern Pacific Chapter Seattle

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Michelle Lesniak Portland

45. Modern Home Tours Seattle and Portland

Glassybaby Multiple locations

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Mokum Available through: Trammel-Gagné Seattle Bloom Furniture Studio Vancouver, B.C. 27. Spark Modern Fires

Sarah Adams, 77 Salon Portland 36. INTERIORS Jessica Helgerson Interior Design Portland Benjamin Moore Multiple locations Kai Fuhrmann Master Furniture Makers Portland Oregon Tile & Marble Portland and Seattle Rush to Build Portland

AnneStarr Vancouver, B.C. Brush & Trowel Portland Kravet Fabrics Seattle, Portland Mint Interiors Vancouver, B.C. The Cross Décor & Design Vancouver, B.C. Trammell-Gagné Seattle Vanillawood Portland

Marianne Simon Design Bellevue, WA Benjamin Moore Kravet Fabrics Portland and Seattle Lee Industries Multiple locations Restoration Hardware Samuel & Sons Available through: Kelly Forslund Seattle Visual Comfort Lighting visualcomfortlighting Williams-Sonoma Home 42. Lapchi Available through: Atelier Lapchi Portland Driscoll Robbins Seattle Salari Fine Carpets Vancouver, B.C. 43. ORIGIN



Ann Sacks Multiple locations Ambiente European Tile Design Seattle and Bellevue, WA Chown Hardware Portland and Bellevue, WA Pratt & Larson Ceramics Multiple locations Statements Tile & Stone Seattle United Tile Multiple locations World Mosaic Vancouver, B.C.

Anna Cohen Portland Imperial Stock Ranch Shaniko, OR Ralph Lauren 44. Moe’s Home Collection Seattle, Vancouver, B.C., North Vancouver, B.C. 45. ESSAY Callison Seattle HunterOffice Vancouver, B.C. Kathy Casey Seattle

Leatrice Eiseman Bainbridge Island, WA Lisa Staton Design Bellingham, WA Nordstrom Pantone Terra Nova Nurseries Canby, OR 47. hip Portland 48. SHOPPING Antler Gallery Portland B&B Italia Seattle Calypso St. Barth Seattle Cubo Design Richmond, B.C. Digs Seattle Duralee Seattle Hip Portland Landon Dix Design + Craft Vancouver, B.C. LightForm Vancouver, B.C. Livingspace Vancouver, B.C. Room & Board Seattle Vitreluxe Portland

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resources 50. Full Spectrum Cielo Home Interior Design Portland Bentley Portland bentleygallery Boxwood Garden Portland Bunny Williams Fermob Juliska Kelly Wearstler Interiors Kravet Fabrics Seattle, Portland Maison Inc. Portland Quadrant Systems Portland R. Wagner Company Portland Schumacher Seattle 58. Small Wonder Peter Wilds Design Vancouver, B.C. BoConcept Seattle and Vancouver, B.C. Bombast Vancouver, B.C. Calligaris Vancouver, B.C. Inform Interiors Seattle and Vancouver, B.C. Jonathan Adler Portland and Seattle LightForm Vancouver, B.C.

Scott Landon Antiques Vancouver, B.C.

Kush Handmade Rugs Portland

75. Bedford Brown Portland

Mercury Contracting Vancouver, B.C.

Spencer Interiors Vancouver, B.C.

Ladies & Gentlemen Studio Seattle ladiesandgentlemen

75. EWF Modern Portland

Rejuvenation Lighting & House Parts Portland

The Cross DĂŠcor & Design Vancouver, B.C. 64. MADE HERE Alder & Co. Portland Apparatus Studio New York, NY Beam & Anchor Portland Benjamin Moore Bright Designlab Portland Carley Kahn Portland Curly Fur Imports Gresham, OR Design Within Reach Portland and Seattle Fieldwork Design & Architecture Portland Fig Studio Architecture + Design Portland Flor Portland and Seattle Ghilarducci Studios Portland 503-757-8245 Goby Walnut Portland Holy Lamb Organics Oakville, WA Hruskaa Grand Rapids, MI Hygge & West

Livingspace Vancouver, B.C.

Jennifer Fowler Interiors Portland

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JHL Design Portland



Laura Buchan Portland Made & State Portland Onefortythree Las Vegas, NV Pendleton Woolen Mills Portland Phloem Studio by Benjamin Klebba Portland

77. Design Stage Seattle 77. Ragen & Associates Seattle 78. DECONSTRUCTED In Situ Architecture Portland Budd + Finn Portland Duravit Multiple locations

Recychedelic Portland

Krown Lab Portland

Rejuvenation Lighting & House Parts Portland

Right Arm Construction Oak Grove, OR

The Good Flock Portland The Good Mod Portland The Joinery Portland Theodore Holdt Portland

Schoolhouse Electric Portland 79. Alchemy Collections Seattle 79. Maison Inc. Portland 80. HOSPITALITY

Tyler Snazelle Portland

Evoke International Design Vancouver, B.C.

69. Terris Draheim Seattle

Heirloom Restaurant Vancouver, B.C.

71. Masins Fine Furnishings & Interior Design Bellevue, WA

Cantu Bathrooms & Hardware, LTD. Vancouver, B.C.

72. STUDIO VISIT Codor Design Seattle Floor Thirteen Seattle

Happy Valley Woodworking Vancouver, B.C. happyvalleywood Inform Contract Vancouver, B.C. Metropolitan Hardwood Floors Vancouver, B.C.

83. Coates Design Architects Bainbridge Island, WA 83. David Papazian Photography Portland 83. Kim E. Rooney Landscape Architects Seattle 85. Accent Lighting Lake Oswego, OR 85. Christine Warjone Art 85. Lisa Staton Design Bellingham, WA 85. Vanillawood Portland 87. Lincoln Barbour Portland 87. Not2Big Seattle 87. Savoury Chef Vancouver, B.C. 89. The Fashion Group International of Seattle Seattle 90. MY NW Devine Color Pambiche Portland 91. Loewen Available through: Sound Glass Tacoma Windows Doors & More Seattle Back Cover: The Fixture Gallery Multiple locations

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“In Puerto Rico, you’ve got these beautiful old buildings in yellows and greens, in vibrant blues next to pinks next to lavenders next to reds. It teaches you how color works together.”


gretchen schauffler Founder, Devine Color paint company

WHERE: Pambiche restaurant, Portland Photographed by BRUCE WOLF



Growing up on a Caribbean island may have emboldened Gretchen Schauffler’s sense of color, but living in Oregon fine-tuned her eye. After 19 years in San Juan, Puerto Rico, she came west for college, and stayed—“leaving behind lime green, coral, and turquoise, and arriving in the land of hunter green, cranberry, and cobalt,” as she puts it. In a region better known for moody skies and neutral tones than bold hues, Schauffler sought “color in the minutiae. I’d look at a stone and see that it wasn’t just gray— there was green and purple. The soil was charcoal with a caramel tone.” She translated this heightened hue awareness into Devine Color, the paint company she founded in 1997, which is expanding into stores across the country later this year. Schauffler personally develops every hue (221 to date), with the goal of empowering people to embrace color in their homes and lives. Little surprise, then, that she adores Pambiche, a Cuban restaurant in northeast Portland. “The place is unapologetic in its self-expression,” she says. “The walls are painted bright colors that in your home would probably look insane. But in Pambiche, it all looks like a fantastic celebration.” h

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You’re a creator with a drive to achieve the impossible. Your passion for discovery knows no bounds. This motivation comes from deep inside and it’s in us too. With a century of window and door innovation behind us, we keep building momentum and we’re not letting up anytime soon. After all, the vision from within that drives our company is inspired by you. Contact your Loewen Window Center to see how we can help you realize your vision.

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GRAY No. 14  

The DESIGN MAGAZINE for the Pacific Northwest.

GRAY No. 14  

The DESIGN MAGAZINE for the Pacific Northwest.

Profile for graymag